Even those with qualms about staging Handel's Messiah could hardly deny the exceptional nature of this world premiere at the Theater an der Wien.

The staging alone proves what is possible within the scope of fairly modest means, but with an ingenious concept and brilliant lighting (Jürgen Hoffmann) techniques. A funeral parlor, board room, museum, bed chamber - all unobtrusively created in seconds and in harmony with action and music.

The soprano part is divided between a spouse (Cornelia Horak) and an admirer (Susan Gritton) of the anti-hero (played here by the dancer Paul Lorenger), a businessman who despairs at his failings (and rejection) and who is ultimately betrayed by his wife (her lover played by Bejun Mehta, Alto). The tenor, Richard Croft, plays an evangelical minister, while Florian Boesch (Bass) is the third male protagonist. The three male protagonists may be related - perhaps brothers, says stage director, Claus Guth.

A kind of solo Greek chorus is played by Nadia Kirchler using sign language, which on occasions is mirrored by the real chorus (Arnold Schoenberg Chor). Ramses Sigl is the choreographer.

The piece opens with the funeral of the disillusioned businessman, who is resurrected to take on the pivotal role around which the remaining characters revolve and interact - culminating with his suicide and the closing scene which parallels the opening moments in act one. There is lots of symbolism throughout - the funeral feast as a Last Supper, and Mary's washing of Jesus feet transformed to a fetish-like moment in the bed scene between the spouse and her lover, being just two examples.

The production is wonderfully directed, and all the protagonists are first rate. Susan Gritton, totally committed dramatically, sang flawlessly with wonderful diction and variation of shade and dynamics. Cornelia Horak produces some lovely sounds, and was essentially ideally cast as the wife - her performance marred only by poor diction. Croft, Mehta, and Boesch contrasted wonderfully in their various roles and were all vocally strong.

Jean-Christophe Spinosi and his Ensemble Matheus show how thrilling Baroque playing can and should be - unaffected, wonderfully scaled and full of dynamics. And no less deserving of accolades - the Arnold Schoenberg Chor.

In this cast and production, a Messiah for the stage - and one to be proud of.